DOCSLIB.ORG

RIVIERA PARADISE As Recorded by Stevie Ray Vaughan (From the 1989 Album in STEP) Transcribed by Paul Thomas and Words by Christopher D

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RIVIERA PARADISE As Recorded by Stevie Ray Vaughan (From the 1989 Album in STEP) Transcribed by Paul Thomas and Words by Christopher D RIVIERA PARADISE As recorded by Stevie Ray Vaughan (From the 1989 Album IN STEP) Transcribed by Paul Thomas and Words by Christopher D. Cuppan Music by Stevie Ray Vaughan Arranged by Stevie Ray Vaughan and Reese Wynans (type 2) Emaj7 10 fr. Dmaj7 8 fr. Cmaj7 6 fr. E7+9 7 fr. E7 9 7 fr. E madd9 4 fr. Cadd9 9 fr. C7+5 9 fr. E7+9 7 fr. F7+9 8 fr. B 6 6 fr. xxx xxx xxx x x x ` x ` xx xx x x x x x ` x D 6 9 fr. Bmaj7 7 fr. Bmaj7+117 fr.Bmaj7sus2+117 fr.Bm/maj7+117 fr. E m9 7 fr. G maj7 7 fr. A 13 5 fr. A 6 5 fr. Gmaj7 3 fr. G13 4 fr. x ` x xx xx xx xx ` x x ` x x ` x x ` x xx x x V III Emaj7 5 fr. G 13 3 fr. G 6 3 fr. Fmaj7 Dmaj7 3 fr. F13 B 7+9 B 7 9 E madd2 x x x ` x x ` x xx x x x x ` x x ` ` x ` A Introduction Rubato (band tacet) = 80 = 70 = 62 = 40 Fmaj7 E maj7 D maj7 F7+9 F7 9 Emadd9 P` ` P ` P P 1 V gV V V V V fV V V fV ee e e 4 R P f V R R V R R V V V V V V I e e 4 P Sztevie Ray Vaughan GuPitar P P gV V V V gV Gtrs I, II mp P V V let tring N.H. 10 12 10 8 10 8 6 8 6 0 T 10 (10) 8 (8) 6 (6) 9 7 0 \\\\\\\\ G10 G8 G6 8 8 0 A x K x K x K 7 7 4 B x K x K x K 7 K K K (8) 8 [7] sl. = 62 = 80 D maj7 D add9 D 7+5 F 7+9 P ` P ` ` b 3 fV V P V V V V eV aP V V ee e e V W R R f V z P e V V gV I e e fgVV fgWW P P aP }VV VV V W z 0 6 8 8 11 9 T 0 \\\\\\\\\\\\\\\\\\\\ 6 12 10 9 10 8 K0 G6 8 9 A K4 x K 7 8 B K7 x K 8 9 K0 K LK sl. sl. = 62 B6 D6 3 P 5 e V V V V V V V V V V Ie eeee k fV V V V V R c V V k V V V V V let rPing gV u T 7 7 \\\\\\\ 7 7 7 10 \\\\\\\\\\\ 9 8 8 8 8 11 A 6 6 6 6 9 B 7 7 (7) 7 10 sl. sl. Public Domain Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org PDF created with FinePrint pdfFactory trial version www.pdffactory.com RIVIERA PARADISE - Stevie Ray Vaughan Page 2 of 33 B Theme Time In - Slow Ballad = 58 Cmaj7 Cmaj7+11Cmaj7suPs2+11Cm/maj7+11 Em9 Gmaj7 7 e V VV V V g fV V V gV fV V Ie eeee fV V gVV V eg VV VV V V V V V V V 3 letg Vring V V 7 7 7 7 T 8\\\\\\\7 7\\\\\\\7\\\\\\\ 7 7 8 7 7 G 9 K 9 G 7 G 8 7 7 7 A K10 K10 K10 K10 G 9 9 9 B K K K K K10 10 K L K K K 0 0 K A13 A6 Em9 Gmaj7 9 e e e V V R R gV gV fV V V V Ie e e gV V P fV V P V V gV V V V V V V V V V 3 V let Vring V T 7 \\\\\ 7 8 7 7 6 7 7 7 A 5 7 7 9 7 (9) 9 9 B 7 9 10 10 0 5 5 0 H H P H H sl. A13 A6 A 13 Fmaj7 ` 3 11 e e V V V V fV k V k V fV eV fV eV V Ie e ee gV V V V fV V V V V V V V V V V V fV V V fV let ring T 7\\ 7 7 6 5 5 6 5 6 5 5 6 6 6 5 5 5 5 A 5 5 5 4 7 7 7 B 8 8 0 5 5 5 5 4 H P H H c V eeee e l V fV U I e Reese Wynans Organ (SynthesizergV) fV U Gtr III p V V fV U T 6 5 4 5 4 4 A 4 6 3 4 B 4 3 4 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org PDF created with FinePrint pdfFactory trial version www.pdffactory.com RIVIERA PARADISE - Stevie Ray Vaughan Page 3 of 33 G13 G6 G maj7 Fmaj7 ` 13 e V V V V V V fV eV V Ie eeee V V V V R V R V V V V V V fV V V V bP eV P fV V V V 3 V V V V V V V let ring T 5\\ 5 5\\\\\ 5\\ 5 6 5 5 4 4 4 5 5 5 5 A 3 3 3 5 7 7 7 B 5 7 7 8 8 8 0 3 3 3 3 sl. sl. H P H H V e e e V V g V V l V f fV W V V Ie e e fV V f V eV V f V W fV V V v V u0 W 4V 2V T 4 4 2 4 4 1 4 4 4 3 3 4 3 3 2 4 4 A 2 4 4 4 4 3 4 2 B 2 2 2 4 4 4 G13 G6 G 13 E maj7 ` ` 3 15 d V ee e e V V V l V k g V V V V V V V I e e fV V V efV f VV V V V V V V V V V V V let ring 3 T 5\\ 5 5\\ 4 3 3 4 3 4 3 3 4 4 4 3 G3 3 3 A 3 3 3 2 K5 5 5 B K6 6 0 3 3 3 K K H P H HT K c ee e e V V fgVV eV V V gU I e e fV V V V V efV f U V V V V V U T 4 4 2 4 4 3 2 3 3 4 3 3 2 2 A 2 4 4 4 4 1 0 B 2 2 2 1 2 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org PDF created with FinePrint pdfFactory trial version www.pdffactory.com RIVIERA PARADISE - Stevie Ray Vaughan Page 4 of 33 G 7 B7+9B7 9 Emadd2 ` ` 17 c c q e gt q W Ie eeee fV l egV fVV gt R V }VV V t 3 aP V V V let Vring N.H. A.H. [12] 5\\\\\\\\\\\\\\ T 4 3 1\\\\\\\\ [12]\\\\\\\\\\\ 3 2 2 [12] A 2 1 1 [12] B 2 2 1 2 2 0 [12] E sl. ` c ee e e W gV f V U I e e fW e V V U W }V V gU T 3 2 0 4 2 1 1 A 1 0 0 3 B 1 1 1 1 2 H C Guitar Solo 1 Em9 Gmaj7 A13 A maj7 ` 20 V gV V V V gV V V V V gV V V V V V e e e k V 3 V gV V V Ie e e v 3 mf Full [[ Full Full Full T 12 15 15 M 15 15 15 M15 12 M M [[[[[ [[[[[[[[[ 14 14 12 12 14 14 14 12 A O 14 14 12 14 B O sl. P P P H V e e W V V V V V V V V V Ie e ee ggW fV gV V V V gV fV V fVV W V V V V V V V u p 6 4 2 T 6 6 4 6 6 6 4 6 6 3 6 5 6 5 5 6 5 5 4 A 4 6 4 6 6 6 6 6 5 B 6 6 6 6 4 4 4 4 Generated using the Power Tab Editor by Brad Larsen. http://powertab.guitarnetwork.org PDF created with FinePrint pdfFactory trial version www.pdffactory.com RIVIERA PARADISE - Stevie Ray Vaughan Page 5 of 33 Em9 Gmaj7 A13 A 13 ` 22 V V V V V V V P V V V V e V gV V fV eV V V P fV eV V gV Ie eeee k 3 z 3 k 12 12 12 12 12 12 12 12 12 T [[[ 12 14 15 14 14 12 14 15 14 12 A 14 B sl. H P sl. sl. V V e e W V V V V V V V fV Ie e ee ggW fV V gV V gV fV V f V W V V V V V V fV 6 4 4 6 4 T 6 6 6 6 6 4 6 6 5 6 5 5 5 6 5 5 4 A 4 4 4 4 6 6 6 5 B 6 6 6 4 4 4 3 Fmaj7 G6 G maj7 ` 24 gV V gV V e V V V V V V V V V V V V Ie eeee j k v v k j Full Full [F[ull[[[[[[[[[[[[[ T 12 15 12 15 12 12[[ 15 M15 12 M M 14 14 12 12 14 A O 14 B O sl.
Load more

Recommended publications
  • Picking Mechanics for Blues Guitar
    Picking Mechanics For Blues Guitar Antony Reynaert www.BestBluesGuitarLessonsOnline.com Contents Introduction I. Downstrokes Only . 5 A. When To Use B. Example C. Famous Players Using This Technique II. Alternate Picking . 6 A. When To Use B. Example C. Famous Players Using This Technique III. Economy Picking . .7 A. Why Use Economy Picking? B. Example C. Famous Players Using This Technique IV. Legato Technique . 8 A. When To Use B. Example C. Famous Players Using This Technique V. Sweep Picking . 9 A. When To Use B. Example C. Famous Players Using This Technique VI. Important Considerations . .. 10 copyright (c) Guitar Mastery Solutions Introduction: How To Free The Music Inside Of You By Overcoming Your Guitar Technique Limitations As a blues guitarist you want to express your feelings through your guitar. Before you can free the music in yourself, you need to clear the roadblock that is holding you back from expressing the music freely. Many guitar students struggle with their freedom of expression when playing blues solos, mainly because they believe that ‘blues is an easy style’ and because of this they never focus on blues guitar technique. This mistake causes the student to only get partial results when improvising and lays also at the root of why many struggle to play blues guitar solos effortless. How To Take Your Mind Of Guitar Technique Guitar technique should be practiced in order to take your mind of technique. Once you focused on the right exercises then you will find yourself in a place where you don’t have to actively think about technique anymore (even when playing the most challenging passages, licks, riffs or solos).
    [Show full text]
  • Stevie Ray Vaughan
    An the Bullcrafe news US~ that's tH paldpennlt to pitch no. 2419 C' PITCtI KCMO February '1986 Kansas City's ffee music and entertainment newspaper Issue 62 A Texas tidal wave Blues, rock, rarb, ballads, you name it from the latest- Hammond discovery the Chantones, Blackbird and Nightcrawlers. by Roger Naber His senior year of high school, he dropped out He's been the most talked-about guitarist in and left his hometown of Dallas in the early 70s. blues and rock circles for the last three years. He followed his brother Jimmie to AUstin, which He dominated reader's and critic's polls in has been his home base ever since. various magazines. For the last two years he has From 1975-77 Stevie played with Austin's been the recipient of "Best Blues Instrumentalist" most popular r&b club band, the Cobras. He at the W.C. Handy Awards in Memphis. And then formed his own r&b revue, Triple Threat, there is no indication that the crest Stevie Ray which featured vocaUst Lu Ann Barton. In ear­ ~ Vaughan is riding is ready to level off. ly '81 Lu Ann quit the band in the middle of I first met the guitar genius four-and-a-half a tour, and that forced Vaughan to take over years ago. After spending several weeks trying lead vocals. He regrouped the band and named to locate him, I hired Vaughan and his band it Double Trouble pr an Otis Rush song. The Double Trouble to perform at HarUng's. The group consisted of Tommy Shannon on elec­ man who urged me to book him was his older tric bass and Chris Layton on drums.
    [Show full text]
  • GW Nov 1985 SRV Benson.Pdf
    v THE WHAMMY BAR News and notes on guitarists the field. It was the last night of Lonnie Mack's and Wood smiling with delight. After the lucky enough to two-night stand at the Lone Star Cafe iii first song , it appeared that Richards and have seen it will New York City and the word was out that Wood were done for the night, but Mack not soon forget something special was going to happen. wasn 't going to let them off that easy. this wicked jam My first thought wp's that Stevie Ray Shifting gears into a slow blues number at Avery Fisher Vaughan would show up with his beat-up that must have lasted fifteen minutes, Hal l. Afte r the sunburst Stratocaster. Wrong . With cele­ Mack, Richards and Wood pulled out show, Miami Vice's brities in attendance such and pulled off a vast voca­ Don Johnson an­ as Dylan, Paul Simon , Mick bulary of classic blues fills nounced the band Jagger and Adrian Belew I leavin g the crowd dizzy would back him knew something big was with excitement. Overall, it on a solo album. going to take place. Mid­ was a fitting tribute to a [- Bill Milkowskll ... Last issue in this way through the Wham guitarist who has been space, we announced that the producers king's first set he called for tearing up fretboards for of "Electric God ," a fi lm "inspired by the his special guests to join a long time. [-Mark Bosch) legend of Jimi Hendrix." had no script, w him and out comes those .
    [Show full text]
  • And Then This Cover and Their Final Version of 1':He Extendec Visual
    and then this cover and their final version of 1':he extendec visual. lntematlona! !j;acc1:11at1reate Peterson House, ME1lthouse Avenue, Cardiff Wales, CF23 United K,r,nN,~m Extended Essay Report As an enthusiastic guitarist and a conscientious student, approached this essay with genuine keenness. He was most often ahead of the game with regards to deadlines in the process and wanted to make sure he 'got it right'. We had many impromptu meetings or discussions beyond those that were scheduled. He was cautioned to keep it about music and not sociology which he succeed in doing even in the draft. One of the issues we discussed after the draft however was the lack of evidence for his claim of the Blues genre being about breaking rules. I advised him to find a stronger tack and, although he kept some aspects of the former he was able to identify and back up SRV's unique voice and contribution in other ways. Ultimately I feel that this should have been pursued further, with perhaps fewer analyses of songs. seemed a tiny bit reluctant to let go of what he had done. I do know that before the final he had much to cut to keep the size manageable so I presume he delivered the best he had. However, this is why I awarded less on his reasoned argument and why an otherwise excellent undertaking does not score full points on holistic. Supervisor's 1 Examiner2 A research 2 2 B introduction 2 2 c 4 4 0 4 4 E reasoned 4 4 F 4 4 G use of 4 4 H 2 2 4 4 J 2 2 K 4 4 Examiner number: Name of examiner 2: Stevie Ray Vaughan: "The Sun" of "The Blues IBl Extended Essay, 2014 Word Count: 3962 (excludes citations) ABSTRACT This essay explores Stevie Ray Vaughan's creative impact on the Blues, by examining how and why his musical talents, infused by his life experiences, translated to the revival and popularity of a genre.
    [Show full text]
  • Stevie Ray Vaughan Cold Shot
    www.customtone.com Stevie Ray Vaughan Cold Shot Original Guitar Used: Pre-CBS Fender® Strat® Variax Setting: Spank 5 Tuning: 1/2 step down: Eb-Ab-Db-Gb-Bb-Eb Vox®! Ibanez® ! Fuzz Face®! Fender® Vibroverb! Fender® Vibratone! Tube Screamer®! This informa,on is provided for educa,onal purposes only and does not imply endorsement or approval from any person or en,ty. All product names used hereon are trademarks of their respec,ve owners, which are in no way associated or affiliated with Line 6. Fender and Strat and are registered trademarks of Fender Musical Instruments Corp. Vox is a registered trademark of Vox R&D Ltd.. Ibanez is a registered trademark of Hoshino, Inc. Tube Screamer is a registered trademark of Hoshino Gakki Co. Ltd. Fuzz Face is a registered trademark of Dunlop Manufacturing, Inc. www.customtone.com Stevie Ray Vaughan Texas Flood Instrument: Pre-CBS Fender® Strat® Variax Setting: Spank 5 Tuning: 1/2 step down: Eb-Ab-Db-Gb-Bb-Eb Super Lead 100 Vox®! Ibanez® ! Fender®! Dumbleland Special! Wah! Tube Screamer®! Vibroverb! Dumble® 412 cab! EV® Speakers ! This informa,on is provided for educa,onal purposes only and does not imply endorsement or approval from any person or en,ty. All product names used hereon are trademarks of their respec,ve owners, which are in no way associated or affiliated with Line 6. Fender and Strat and are registered trademarks of Fender Musical Instruments Corp. Vox is a registered trademark of Vox R&D Ltd. Ibanez and Tube Screamer are registered trademarks of Hoshino Gakki Co.
    [Show full text]
  • Stevie Ray Vaughan & Double
    I WANNA TESTIFY As recorded by Stevie Ray Vaughan (From the 1983 Album TEXAS FLOOD) Transcribed by prusche Words and Music by George Clinton and Deron Taylor A Intro = 204 N.C.P E7+9 N.C. E7+9 1 g 4 c }V k V }V V }V k V I 4 c V V gV V V V gV V c gV fV V V gV V V V gV V c V V V V V V V V V V Gtr I T 8 8 8 0 8 8 7 7 7 0 7 7 A 6 6 6 0 6 6 B 5 5 6 6 7 7 7 7 7 5 5 6 6 7 7 7 7 5 7 7 0 0 5 7 7 0 0 sl. sl. N.C. E7+9 N.C. E7+9 5 g}V }V k V }V }V k V I gV V V gV V V V gV V c gV V V gV V V V gV V c V V V V V V V V V V T 8 8 8 8 8 8 7 7 7 7 7 7 A 6 6 6 6 6 6 B 7 5 5 6 6 7 7 7 7 7 5 5 6 6 7 7 7 7 5 7 7 0 0 5 7 7 0 0 sl. sl. N.C. E7+9 N.C. E7+9 9 g}V }V k V }V }V k V I gV V V gV V V V gV V c gV V V gV V V V gV V c V V V V V V V V V V T 8 8 8 8 8 8 7 7 7 7 7 7 A 6 6 6 6 6 6 B 7 5 5 6 6 7 7 7 7 7 5 5 6 6 7 7 7 7 5 7 7 0 0 5 7 7 0 0 sl.
    [Show full text]
  • Renny Schweiger
    the tribute to Stevie Ray Vaughan and Double Trouble Even though Stevie Ray Vaughan was taken from us over a decade ago, his music and legacy remain fresh and vital today. While many capable artists continue to be compared to SRV, none have come close to filling the void his tragic death left us. His style and sound are instantly identifiable—watch patrons of a club or bar nod their heads, tap their toes and smile whenever a Stevie classic escapes from the jukebox. Formed in 2001, Rave On shares in the excitement and fun of Stevie Ray’s music. Made up of four dedicated and seasoned players, Rave On recreates all of SRV’s well–known favourites plus many choice selections from the SRV and Double Trouble catalog. Performing a varied and compelling mix of show stoppers ranging from tender and tasty to rousers that get the house a rockin’, Rave On works hard to bring you the experience one might have had seeing Stevie live. Drawing on a mix of studio and live versions, Rave On satisfies long–time SRV fans while continuing to win over those not yet familiar with his music. And if the music wasn’t enough, Rave On brings a visual impact to the show. From the authentic Texas Hatters signature black hat and tattoo down to the snakeskin boots, Rave On often hears patrons cry “Stevie’s in the house!” A sampling of our ever expanding repertoire: Pride and Joy Cold Shot Crossfire Scuttle Buttin’ Mary Had a Little Lamb The House Is Rockin’ Lenny Texas Flood Voodoo Chile Let Me Love You Baby The Sky Is Crying Little Wing Tin Pan Alley Love Struck Baby Riviera Paradise Stevie Ray Vaughan was a unique soul, able to reach people all over the world.
    [Show full text]
  • TEXAS FLOOD As Recorded by Stevie Ray Vaughan and Double Trouble (From the 1983 Album TEXAS FLOOD) Transcribed by Words and Music by Larry C
    TEXAS FLOOD As recorded by Stevie Ray Vaughan and Double Trouble (From the 1983 Album TEXAS FLOOD) Transcribed by Words and Music by Larry C. Davis & Joseph www.mikesguitarsite.co.uk W. Scott A Intro P = 62 V V V V V V V eV V V V 1 g V V V c } V V V fV V 12 V `P fV V V } P V P V R V V `P fV `P fV V } V V k V V I 8 V V V z u V } z z P V z u z u } Gtr I f [[ 3 5 3 x 5 5 8 10 8 15 15 15 15 T 3 5 3 x 3 5 3 5 8 10 8 15 15 15 15 2 3 4 5 4 x 4 4 8 9 10 8 9 15 15 15 15 A 2 5 5 x 7 10 10 x 14 14 14 14 B 5 7 10 x x H H H sl. H H sl. sl. sl. eV V P V 4 g V aP V V VgV fV V V V V V I `P V V z V z V V V V V V V V `P V V V V V fV k z 3 z VgV V V V 1/2 1/2 Full 1/2 1/2 Full 1/2 M M M M M M M [[[[[ let ring [[[[[[[ 3 5 3 4 3 3 6 (6) 6 (6) 3 T 3 6 (6) 3 6 3 0 8 8 3 (3) 5 (5) 3 (3) O 3 (3) 5 0 A 5 5 5 4 B 3 4 5 H P V V eV V eV V V P V V 6 g V V V V V V V } k V V z V V V V I P V V fV V V R V } z P V FullM [[ [[ FullM 1/2M FullM FullM [[[[[[[[[[[[[ 8 (8) 6 6 x 6 8 (8) 8 (8) 6 T 8 8 8 8 8 x 8 8 8 8 8 8 7 x A 5 (5) (5)O 3 (3) O B 5 15 3 P sl.
    [Show full text]
  • JOE BONAMASSA ANNOUNCES 2019 SUMMER TOUR in AMERICA INCLUDING a STOP at BETHEL WOODS on JULY 30TH Tickets On-Sale Friday, March 15Th at 10 AM
    FOR IMMEDIATE RELEASE Media Contact: Bridget Smith v.845.583.2179 Photos & Interviews may be available upon request [email protected] JOE BONAMASSA ANNOUNCES 2019 SUMMER TOUR IN AMERICA INCLUDING A STOP AT BETHEL WOODS ON JULY 30TH Tickets On-Sale Friday, March 15th at 10 AM March 8, 2019 (BETHEL, NY) – Today, two-time GRAMMY-nominated blues-rock titan Joe Bonamassa announces his new US Summer tour dates for 2019 in support of his all-original studio album Redemption (J&R Adventures) which was released last September. The tour will stop at Bethel Woods Center for the Arts, the historic site of the 1969 Woodstock festival in Bethel, NY on July 30th for a pavilion-only concert. Tickets for Joe Bonamassa go on-sale Friday, March 15th at 10:00 AM at www.BethelWoodsCenter.org, www.Ticketmaster.com, Ticketmaster outlets, or by phone at 1.800.745.3000. Backed by a stellar band of legendary musicians including Late Night with David Letterman’s Anton Fig (drums), Nashville recording legend Michael Rhodes (bass), and Rock & Roll Hall of Famer and member of Stevie Ray Vaughan and Double Trouble, Reese Wynans (piano/organ), Paulie Cerra (sax), Lee Thornburg (trumpet), and featuring soulful background singers to bring a whole new life to the show which will feature brand new songs alongside career-spanning favorites. Bonamassa is one of today’s top live performers and his enthusiastic shows are one of the biggest parts of his career, and a favorite for music lovers worldwide. Hailed internationally as one of the greatest guitar players of his generation, Bonamassa has almost single-handedly redefined the blues-rock genre and brought it into the mainstream.
    [Show full text]
  • Download Albert Cummings Biography
    ALBERT CUMMINGS - Bio It's been said that you don't seek out the blues – it seeks out you. For guitar virtuoso Albert Cummings, no words could ring more true. Cummings' masterful guitar wizardry has drawn comparisons to iconic axe legends Albert King, Freddie King, Jimi Hendrix and even his own musical inspiration, Stevie Ray Vaughan. He has graced the stage with such esteemed luminaries as Buddy Guy, Johnny Winter, Susan Tedeschi, Sheryl Crow, and B.B. King, who called Cummings “a great guitarist.” He also has worked with renowned industry producers Jim Gaines and David Z. Freshly signed to Provogue Records, a division of Mascot Label Group, Cummings joins the elite ranks of such guitar virtuosos as Joe Bonamassa, Walter Trout and Eric Gales. “It's such an honor to be part of a label that has helped shape the careers of the greatest guitar players our world has ever known,” states Cummings. “I'm confident that Provogue is the right home for me and I look forward to working with them and getting some new music to the loyal supporters that I have.” With mesmerizing extended guitar jams, Cummings' Fender Strat sings while he takes you on a twisting, turning blues roller coaster. Featuring a tight, pristine tone and strong vocals to match, the seasoned entertainer has incorporated the influence of his musical idols while maintaining a distinct, genre- bending style and sound all his own. With six studio albums, two live records and a new label, Albert Cummings is back and better than ever with his latest release slated for early next year.
    [Show full text]
  • Little Wing Stevie Ray Vaughan the Sky Is Crying Words & Music by Jimi Hendrix
    Little Wing Stevie Ray Vaughan The Sky is Crying Words & Music by Jimi Hendrix Tune down ½ step = D# = C# = A# = G# n = F# q = D# o r= 60 p hs Part A tune down 1/2 step and use swing-16ths feel Em Am7 G Gsus4 G 1 B 1 B 4 Q Q GBBBB B GB B B B B B B : 4 C 4 I C C B B B GB B BG B B B B B C C C B GB BC B B "# B $ & $ $ "# + + & & $ $ $ $ $ $ + "# + + & ( & ! % & & % & % c + + + & & ( & + & ( + ! # $ $ $ $ Am7 Em7 Am7 3 3 3 4 GB B B C C B GBB B GB B B B B B B BGDB FB B B C B B B B B B BGB B B B B B$ & $ $ + & & & $ $ ,&- & + & ( & & & & ! ! & & ,&- & + & & ( ( & & & ( ( ) ( & & ( & ( & ( && ( ( & ! ! ! & Bm7 Bb5 Am7 C 3 3 3 6 D B D GDB B B B B B F B B R R 3 B B B B B B B B B B B GB B D F M B B B 3 B B B B B B B B 1/4 GB B B M ( * * "! ( ( ,$- ' & ( ( "! ? ( ,$- ' & & & & & & & ( & & & ( ( ( & ( & ( & ( & & ( & ( ( & ( ( ( & ' ' & Copyright © 1968 by Bella Godiva Music, Inc. All Rights Reserved - International Copyright Secured Page 1/14 Gadd9 Aadd9 Gadd9 Fadd9 C5 3 3 8 G GDB GB B F B B B B 2 GB GB B B B B B B B 4 B B B B B B B B B B B B B B & ( ( & & $ $ $ $ & & $ $ " " " ! % ' ' % % # # # ! & & & ( & $ ! & $ $ $ $ $ $ $ $ $ " D5 Dsus4 Dsus2 D 3 10 3 4 B B B B B B B B B B B Q P P R 4 B B B B B B B GB B B B B B B GDB B B M B B B B ,&- ( ( ( ( ( ( ( ( ( ( ( ( * * ( ( ( ( $ & & & & & "! "! ( ( ( * ,!- ! ! $ $ Part B Em7 3 3 3 3 12 3 3 3 3 3 3 3 3 3 3 3 B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B B ! B ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! # ! ! G Am 13 B B B B B B B B B B B B R B B B 3 B B B B B B G B GB B GB BGB BGB B 3 3 B B B B B B 3 3 B B B B B 1/4 full full & ( & ( & & & & & & & ) ? & ) & ? & ) ) ? & & & & ( ( ( & & & ( ( & ( ( & ( & & & ( & ( ( & ( & & ( $ & & Page 2/14 Em7 Bm7 Bb 15 U U D F U U DB B B B B B B B B F U R B 3B 3 3B GB B B C 3 B B B B Harm.
    [Show full text]
  • The Emergence of Native American Blues
    The Redmen Blues Band: Cecil Gray (lt), Terry Tsotigh (ctr) and Patrick Tointigh (rt). Photos by Nancy Smith, Lightninghorse Photography The emergence of naTive american Blues By Murphy Platero lush melody and tender lyrical sound, slow soothing guitar solos to explosive riffs, words of hardship, pain and tears – the blues Some years ago, I saw a picture of the infamous and influential bluesman Stevie Ray Vaughan in a magazine, and he imparts a story that many Native Americans know all too well. was not wearing his usual hat, but a colorful Native American Those who were told that everything has a song, now took the headdress. He wasn’t Native, but the only reason I could figure blues and made it their own. why he had changed his look was to make a statement and But it wasn’t new – it’s been there all along – the blues was honor a People he admired, just like how he wore Indigenous a part of Indian country. I think it’s worth mentioning that when jewelry when he came on the scene. I believe he was making a we look deep under the surface to the actual creation of the prophetic statement among those who loved and followed this blues – the Delta blues in particular – one name raises to the top: amazing music called blues: look out, it’s coming and it’s going the “Father of the Delta Blues,” Charlie Patton. This Black man be spectacular – Native American blues. And Stevie was right – from the Delta was half Native American, born on a plantation he foretold the coming like John the Baptist making the way in the to his mother who was a full-blooded Choctaw, which just goes wilderness for the coming of a new and wonderful message and to show we’ve been there from the beginning.
    [Show full text]